Who was LEONI, LEONE?

LEONI, LEONE (Ital.). Sculptor and Medallist, born at Arezzo in 1509, died at Milan on July 22., 1590. Whether he belonged to the same family as Giovanni Leone da Arezzo, upon whom the Emperor Sigismund conferred a knighthood in 1418 or not, it is impossible to ascertain. Nothing is known either of this artist's early career. In 1537 he was appointed Mint-engraver at Rome, a post which he filled until 1540. It would appear that his first medallic work of note was a Portrait-medallion ot General Ferrante Gonzaga's daughter, Isabella, whom he represented at the age of sixteen, in 1537; the General was so delighted with this work that he henceforward became a zealous patron of Leone Leoni, and secured for him, from the Governor of Milan, Alfonso d'Avalos, the important office of Director of the Imperial Mint there, which the artist retained until his death, except for a brief stay at Brussels in 1549-50. Thanks to Ferrante, he was introduced to Charles V., who attached him to his service as Sculptor and Medallist, and raised him to the knighthood. It is said that Leoni was of a very violent temper; one of his bitterest enemies was Benvenuto Cellini, who accused him of having endeavoured to poison him; he disfigured the pontifical goldsmith Pellegrino di Lenti; did grievous bodily injury to Orazio Veccelli, Titian's son, and had the latter's assistant, Martino, killed Veccelli, Titian's son, and had the latter's assistant, Martino, killed by a bravo; we find him ready to use the dagger in his many quarrels with friends and foes. Michelangelo was the only contemporary artist with whom Leoni entertained intimate relations. He executed of him a curious Portrait-medal, on the reverse of which is represented a blind man led by a dog, with the legend : DOCEBOS INIQUOS VIAS TUAS ET INIQUI AD TE CONVERTENTUR ; also a Portrait-medallion in wax (illustrated). From the time when Leoni was employed by Charles V. date some of his most important works of sculpture, generally of large size and mostly in bronze. There is only one left in Italy, the beautiful monument of Jacopo de' Medici, Marquis of Melegnago, in the cathedral of Milan, designed, it is said, by Michelangelo. The numerous statues and busts which were commissioned to the artist by the Imperial family are nearly all either in Spain or at Vienna. A group representing Charles V. slaying a monster (Caesaris virtute domitus furor) and commemorating the Victory of Mühlberg was erected in 1526 on the public square of Gustalla, but sent towards the end of the eighteenth century to the castle of Buen Retiro in Spain, whence it has been transferred to the Prado Museum. The same Museum preserves a bust, and half-length figure in bronze of Charles V., and the Real Academia of San Fernando an alabaster bust of Philip II., marble busts of Queen Mary of Hungary, and Queen Eleonora, sister of Charles V. and consort of Francis I.; all three busts were cast in 1549. In the Vienna Imperial Museum are. treasured a half-length figure in bronze of Charles V., similar to the Madrid one, and a large Portrait-medallion of the same Emperor, as well as a bust of Mary of Hungary. The Louvre acquired within the last twenty years a Portrait-medallion in bronze of Charles V., mentioned by Vasari, who says that it was commissioned by Granvella. "All these portraits ", observes M. Bertaux, “ are modelled with great firmness; the bronzes offer a refined polish and very rich black patina, which remind one of the busts by the Venetian sculptors Alessandro Vittoria and others ; the detail of the draperies, the hair, and ornaments of cuirasses, &c. are of an exquisite finish ; and the artist has displayed ingenious taste and discreet fancy in the decoration of his stands and frameworks. " But of surpassing merit are Leone Leoni's medallic productions, including the coins which he engraved at the Milanese Mint ; they belong to the finest and boldest works of the latter part of the Renaissance. Specimens are generally met with in silver, and also in bronze : (1549). Charles V. R. DISCITE • IVSTITIAM • MONITI . Zeus overpowering the Titans; 73 mill. (obv. illustrated) ; — (1549). The Empress Isabella. R. HAS • HABET • ET • SVPERAT . The Three Graces; 73 mill. (obv. illustrated). Both these medals were commissioned to the artist at the time of his journey to Brussels; that of the Empress was struck in her memory by order of Charles V., as she had died in 1536. — (1547). Charles V. R. IN• SPEM • PRISCI • HONORIS —TYBERIS. The Tiber reclining to l. ; 40 mill ; — (Before 1546). Charles V. and Isabella, their busts on either side; 36 mill. (illustrated). A specimen realized ? 40 at the Rome Sale, February 1904; — (Before 1537). Titian R. Bacchante to r. preceded by Cupid; 34 mill. ; — 1537. Pietro Aretino. R. VERITAS • ODIVM • PARIT - 1537 within wreath; 37 mill. (2 var. ; signed : LEO); - 1537. Titian and Pietro Aretino, their busts on either side; 37 mill; — 1537. Isabella Villamarina, Princess of Salerno (only known by a letter of Leoni to Aretino); — 1537. Pietro Bembo, medallion in wax, and bronze medal (no specimens have as yet been found); — 1537. Pope Paul III., Medal on the fortification of Rome (mentioned in the Mint accounts of the Roman Zecca) ; — Another, Bust of Pope to l. ; signed: LEO. R. DOMINVS • CVSTODIT • TE • DOMINVS • PROTECTIO • TVA . Horsemen galloping from the walls of a city under a hail of stones ; 45 mill. ; — Another, Similar bust R. SECVRITAS • TEMPORVM. Three horses grazing; 45 mill.; — Another, Similar bust R. No legend; Roma, helmeted, seated, to r. ; near her, wolf and twins; to r., the Tiber reclining to 1, ; in the field, S.C. ; 45 mill. [Leoni reproduced this same figure of Tiber on a small medal of Charles V., which is unsigned] ; — Andrea Doria and Leone Leoni, their busts on either side (R. illustrated, representing Leoni at the age of 30); 43 mill. [This medal alludes to some occasion on which Admiral Doria had freed the artist from imprisonment and labour in the galleys. Leoni's bust is shown bareheaded ; behind him a galley and the tools of his art ; border of fetters]; — Andrea Doria; R. Galley sailing to r. ; in foreground a small boat is seen approaching carrying two men. [This is another allusion to the artist's deliverance by his protector] ; — Andrea Doria; R. LIBERTA • PVBLICA. Liberty standing to r. ; — 1541. Giovannettino Doria, nephew of the Genoese admiral (mentioned in a letter from the Bishop of Arras to Leoni, but no specimen extant); — Martin de Hanna R. SPES.MEA • IN • DEO • EST. Hope to r. ; signed : LEO ; 70 mill, (a specimen in the Rome Sale (London, February 1904) realized ? 17.5.0) ; — Daniel de Hanna, son of Martin ; Obv. Bust to r. ; signed : LEO R. VOEI Abundance ; 32 mill. ; — (Before 1546). Alfonso d'Avalos, marquis del Vasto, and his consort; their busts on either side; 46 mill, (a specimen exists in the Imperial Museum at Vienna); — Francesco Molza, poet (only known by a letter from Aretino to Leoni, 1546); — Philip, prince of Spain ; Obv. Youthful bust to 1. R. COLIT ARDVAVIRTVS. Hercules between Voluptuousness and Virtue; signed : LEO, F. ; 84 mill. [The artist presented specimens of this medal in gold to the Emperor and the Queens of France and Hungary, on his arrival at Brussels in 1549]; — (1549). Mary, Queen of Hungary; Obv. MARIA • HVN • BOH • REG• MDXXI. Bust to 1. in rich coiffure (possibly copied from Michael Hohenauer's medal of 1526); R. unknown [All the specimens known of this medal are in the form of reverses of the large medal of Charles V.]; 73 mill. ; — Jérôme Perrenot, of Champagney (known only from Leoni' s letter to Cardinal Granvella, 1549); — (1551)- Leone Leoni, Bust of the artist to r. ; legend : LEO • ARETINVS • SCVLPTOR • CAESAREVS (in the Ambrosian Library; illustrated. Leoni is there represented at the age of about 40); —(1551). Ippolita Gonzaga, Obv. Bust to l.; signed : ?E?N • APHTINO?. R. PAR VBIQ • POTESTAS. Three-fold representation of Hecate as Diana, the Moon, and Proserpina carried away by Pluto; 60 mill.; — The beautiful Felipina (known by a letter of Leoni to the Bishop of Arras); — (1555). Charles V. and Don Philip; Obv. Their busts conjoined tor. R. PLVS • OVLTRE. The pillars of Hercules supporting the Imperial crown, &c. ; 42 mill.; — Antoine Perrenot, Cardinal Granvella; Obv. Bust to l. ; signed : LEO; R. DVRATE. Vessel beaten by the storm; 66 mill.; — Another, smaller R. Neptune pacifying the sea; near him, to r., Thetis is seen fighting with a sea monster, &c. ; 51 mill.; — (1556) Ferrante Gonzaga; R. Hercules hurling his club against monsters, 65 mill. — (1555-58). Baccio Bandinelli; Obv. signed : LEO. R. CHAN • DOR • ILLESVS within laurel-wreath; 41 mill.; — (1557-1558). Giorgio Vasari ; Obv. signed : LEO. R. blank; 62 mill.; — (1561); Pius IV. Obv. Bust to r. R. DESIDERIO • DESIDERAMVS. Hen with brood of chickens; 48 mill.; — (1561). Gonzalvus of Cordova, Duke of Suessa ; R. DABIT • DEVS • HIS • QVOQ. FINEM. Hercules slaying the Hydra; 58 mill; — Another R. DOCEBO • INIQVOS &c. Blind man led by a dog (similar to the R. of the medal of Michelangelo); 58 mill. [The first of these two medals shows a lion seeking refuge between the legs of Hercules ; Plon suggests that the lion stands for the artist's signature and gives it a character of authenticity]; — (1561). Francesco d'Avalos, marquis of Pescara ; R. Hercules trampling on Dragon and gathering apples in the Garden of the Hesperides (ascribed to Annibale Fontana by Lomazzo, but more likely the work of Leone Leoni; vide FONTANA, vol. II, p. 119); — Francesco d'Avalos Portrait-medal, uniface; 60 mill. (Ambrosian Library) ; — Michelangelo, wax medallion (published by Drury Fortnum, Archaeol. Journal, vol. XXXII, n° 125 (illustrated) ; — (1561) Michelangelo; Obv. Bust to r. ; signed : LEO. R. DOCEBO • INIQVOS • V • T • ET • IMPII • AD • TE • CONVER. Blind man advancing to r. led by a dog; 59 mill. (Obv. illustrated); — (1554)- Maximilian II. as King of Bohemia; R. QVO • ME FATA VOCANT. Mercury holding caduceus flying to 1. ; 65 mill, (ascribed to Leoni by Domanig, Bertaux and others); — Archduke Ferdinand, Governor of Bohemia; — Philippina Welzer, Archduke Ferdinand's first wife (medal ascribed to Leone Leoni by Domanig ; probably the same as the one described by Plon as "The beautiful Filepina" ; executed circa 1551; a fine specimen is preserved in the Imperial Museum at Vienna ; DIVAE • PHILIPPINAE Bust to r.). Besides the medals mentioned above, Plon describes a few others which he thinks should be given to Leoni, who in 1555, was informing Cardinal Granvella that he had up to that da te executed already thirty medals. Among these are : Bernardo Tasso, Torquato's father; R. TVTE • SITIM • PELLE. Unicorn ; 56 mill. ; — Bernardo Spina; R. SUPERAT • OMNIA • VIRTVS. Virtue on horseback spearing Envy ; 46 mill. ; — Giovanbattista Castaldo ; R.. SVBACTAE • DACIAE • RESTITVTORI • OPTIMO. The General raising a female figure seated on implements of war ; 51 mill. [In 1555 Castaldo mentions a medal which Leoni was to make of him by desire of Granvella ; Von Fabriczy places this medal among Leoni's authenticated works]; — Another; R. OB • REM • MILITAREM • FELICITER • GESTAM. Victory holding wreath and palm-branch ; 51 mill. ; — Gianello della Torre; R. VIRTVS • NVNQ • DEFICIT. The Fountain of science; 80 mill. [This R. occurs also on a medal of Philip II., which is no doubt by Jacopo da Trezzo, and indeed Von Fabriczy is convinced that the latter artist is the author of this medal also] ; — Cardinal Granvella; R. DVRATE. The Ship of Aeneas in a storm ; 60 mill. ; — Another, executed after 1561; R. Mount Calvary ; — Another ; R. The ship of Ulysses nearing a rock on which Sirens are playing with various instruments; — Another; R. Neptune striking the ship of Aeneas with his trident. [It is not unlikely however that some at least of the unsigned medals of Granvella are by other artists, as Melone, or Domenico de' Compagni, who both repeatedly portrayed the famous Bishop of Arras on medals]; — Vincenzo Bovi ; R. ANTIDOTVM VITAE. Religion, facing, holding cross (Keary, op. cit., p. 42); — Danae; leg : NON ABSQVE PLUVIA DANAE. Female bust to r. (diam. 67 mill.; in MM. Rollin and Feuardent's Collection). Between 1537 and 1540 Leone Leoni was employed as Engraver at the Papal Mint of Rome under Paul III., but it is difficult to ascertain which of this Pontiff's coins were engraved by him, as none are dated, and Benvenuto Cellini who was his colleague, and worked there before and after him, is credited with the cutting of most of the dies of that period. At any rate it is now beyond doubt that Cellini is the author of the fine Doppia and Testone of this Pope (Vide G. Castellani, Lo Scudo d'oro di Paolo III conio di Benvenuto Cellini, Num. Circular, XI, col. 7090 ; Bolletino di Numismatica 1904). Leoni's short tenure of office at the Roman Zecca has all the savour of mediaeval romance; out of spite against Cellini, he procured his imprisonment in 1538 under the pretext that during the sack of Rome he had purloined the pontifical jewels ; Cellini was able to clear himself of the charge, but soon after Leoni himself was arrested and condemned to the galleys for an act of violence against the German goldsmith Waldener. Delivered from incarceration by his protector Andrea Doria, he accompanied him to Genoa in 1541, where he executed the medals of his benefactor, and in the following year he was appointed Mint-engraver at Milan, a post which he held until 1545, and again from 1550 until his death. In 1546, after several short stays at Venice, where he endeavoured to get rid of a cumbrous assistant by hired banditti, he became Mint-master at Parma; but in 1547 we find him again at Rome working for the Zecca, and in 1549 at Brussels, called there at the special invitation of Charles V. From 1558 to 1590, the artist resided at Milan, and died-in the 'Palace', still extant, which the Emperor had presented him in recognition for his services in Art. During the latter period of his life, he once more had recourse to murder, his victim being Titian's son, who had come to Milan to collect a large sum of money and whom he probably wished to rob. Alhough Leoni remained unpunished, his many misdeeds are so many blots on his memory. Dr Casati reproduces several Milanese Mint documents, which show that during the whole period of 1542 to 1589 Leoni received payments for dies cut by him, and we are safe in ascribing to him all the more important coins, issued at Milan under Charles V. and Philip II. Among these I may mention the following : Charles V. (1535-1556). Al. Doppio Scudo d'oro, Laur. bust to r. R. The pillars of Hercules in the sea ; between them, a crown; — AR. Ducatone (da Soldi cento) ; R. TE DEVM LAVDAMVS ; ex : S • AGVS • AMB. St. Augustine abjuring Manichaeism at the feet of St. Ambrosius; — Ducatone; R. DISCITE • IVSTITIAM • MONITI. Zeus on Mount Olympus hurling fulmen at the Titans ; — Mezzo Ducatone; Type of the preceding; — Ducatone; R. CVIQ. SVVM Crowned eagle standing on fulmen above the globe; dated 1551 ; — Mezzo Ducatone; similar type; dated 1552 (2 or 3 var.); — Burigozzo (da 32 Soldi); R. St. Ambrosius; — Testone; R Pietas (2 var.); St. Ambrosius (4 var.); Salus Augusta (2 var.); The Pillars of Hercules (3 or 4 var. ; one illustrated) ; — Mezzo Testone; R OB | INSVB | RIAM | SERVA | TAM within wreath ; — 10 Soldi; — 8 Soldi 3 Denari; — 5 Soldi; — Mezzo Bianco; — Parpagliola; — Quindicino; — Sesino; — Trillina; — Denaro. — Philip II. (1556-1598; Leoni at the Mint of Milan until 1589). Al. 6 Zecchini; obv. Radiated bust of Philip II. R. Facing bust of St. Ambrosius; — Proof of the Mezzo Ducatone (2 var.) ; — Doppia da tre ; R. Arms ; 1555 ; — Quadrupla or Doppia da due (3 var.): — Doppia (15 var. in Gnecchi); — Scudo d'oro; R. MVNDI • SALVS • VNICA Cross; —Scudo d'oro del Sole; R. MEDIOLANI D. (3 var.) ; — Scudo d'oro ; — AR. Ducatone (22 types described by Gnecchi, but some bear dates after 1590 and are consequently not by Leoni) ; — Mezzo Ducatone (many varieties, some dated 1377, 1579, 1582, 1584, 1588); — Quarto di Ducatone ; — Scudo or Filippo; — 40 Soldi ; — Lira; — Mezza Lira ; — 5 Soldi ; — Grosso da 2 1/2 soldi ; — Soldino ; — Parpagliola ; — Sesino; — Trillina ; — Denaro. Leoni distinguished himself also as a Gem-engraver, but we have unfortunately no record of his productions in that particular branch. Plon describes a cameo representing the Emperor Charles V., the Prince of Spain Don Philip and the Empress Isabella, which is only known by a letter of the artist to Granvella. “ The emperor Charles V. was a lover and collector of cameos. Leone Leoni of Arezzo cut a fine one of him with his son on one side and another of his Empress on the other side, this being the earliest recorded instance of the making of a double cameo, a fashion which was not uncommon during the Renaissance, and sometimes shows an antique backed by a modern piece of work " (Davenport, op. cit., p. 50). The Madrid and Vienna Museums preserve medallions in coloured wax by Leoni, and there is one of Michael Angelo in the British Museum (illustrated). " The- head is modelled with the greatest care for detail. Every line and wrinkle is faithfully reproduced, as is also each hair of the head and beard. The ear is delightfully expressive, and what a refined, sensitive nature it indicates. The colour of the wax is uniform — a yellowish red of the shade of terra cotta. The inscription on the reverse of the medallion runs : MICHAEL ANGELO BUONAROTTI SUO RITRATTO FATTO DAL NATURALE DA LEONE LEONI ARETINO SUO AMICO 1562" (B. Kendell, Jewelled Waxes and others, The Connoisseur, vol. VIII, p. 134). Some Plaques are attributed to Leone Leoni by Molinier, although one only appears to be undoubtedly by him, as it forms the reverse of one of his authenticated medals : Andrea Doria as Neptune; 95 X70 mill. (Berlin and South Kensington Museums); Allegory of the " Fountain of science " (R. of Gianello della Torre's medal, which is now ascribed to Jacopo da Trezzo, by C. von Fabriczy) ; — Apotheosis of Charles V. (Vatican Library) [erroneously attributed to Cellini by Plon]. In the Victoria and Albert Museum, South Kensington, there is a circular Medallion, representing a Female figure holding on her head a vase from which water flows on either side; young and aged men drink and gather it in jars ; inscribed above, VIRTVS ; beneath, NVNQ.: DEFICIT. This Plaque, which is of the year 1562, is ascribed to Leone Leoni by Fortnum. Dr Bode ascribes to Leone Leoni the following Plaques : Jupiter fighting the Titans; circular ; — Neptune and R. Euterpe, circular, 37 mill. "Vasari" , says Keary "speaks in high praise of Leoni's performances as a sculptor, the greatest of which was a bronze statue of Charles V. Leoni brought into requisition his silvermith's art, and made a suit of armour of thin silver plates, with which the nude figure could upon occasion be clothed. When the figure was completed he made a large die for the purpose of striking medals of the Emperor; on the reverse was Jupiter launching his thunderbolt at the Titans. " For these works his Majesty gave the artist a pension of a hundred and fifty ducats, secured on the Mint of Milan, with a commodious house in the Contrada de' Moroni. Charles also made him a knight, conferring at the same time a patent of nobility upon his descendants ; and while Leoni was in Brussels he had rooms in the palace of the Emperor, who sometimes amused himself by going to see the artist at his work" (Num. Chron., 1879, p. 210). Although Leone Leoni does not equal some of the earlier medallists, and perhaps not even Valerio Belli or Cellini, his contemporaries, still he deserves a place in the front ranks of Italian artists of his period, were it alone for his exquisite coin-dies of Charles V., which continue at Milan the fine series of Caradosso, and will remain a perpetual witness of one of the most glorious epochs in Art the world ever saw. " His was one of those unrestrained, overflowing, forceful natures such as the decline of the Renaissance produced. " (Von Fabriczy). Bibliography. — Eug?ne Plon, Leone Leoni, sculpteur de Charles V, et Pompeo Leoni, sculpteur de Philippe II, Paris, 1887. — Vasari, ed. Milanesi, t. VII. — Paolo Morigia, La Nobilta di Milano, Milan, 1615. — Bottari, Lettere pittoriche, —Roma, 1754-73. — E. Bertaux, Leone Leoni, Grande Encyclopédie, t. XXII, p. 34. L'Art, 1877, t. II ; 1878, t. I.. — Jahrbuch der Kunsthistorischen Sammlungen des allerhöchsten Kaiserlichen Houses, t. V and t. XIII. — Armand, Les Médailleurs italiens des XVe et XVIe si?cles, Paris, 1887. — C. von Fabiczy, Die Medaillen der italienischen Renaissance, 1903. — C. F. Keary, A Guide to the Exhibition of Italian Medals at the British Museum, London, 1903. — Dr Carlo Casati, Leone Leoni d'Arezzo, scultore, Milano, 1884. — F. & E. Gnecchi, Le Monete di Milano, Milano, 1884. — I. B. Supino, Il Medagliere del R. Museo Nazionale di Firenze, 1899. — Campori, Gli artisti italiani e stranieri negli Stati Estensi, and Lettere pittoriche, vol. III, n. 21, 60, 89. — Emile Molinier, Les Plaquettes, Paris, 1886. — Keary, Italian Medals of the fifteenth and sixteenth centuries, Numismatic Chronicle, 1879, p. 196. — Dr Julius Cahn, Die Medaillen und Plaketten der Kunstsammlung W. Metzler in Frankfurt-am-Mein. — A. Pinchart, Histoire de la Gravure des médailles en Belgique, Bruxelles, 1870. — Cean Bermudez, Diccionario historico, &c., vol. III. — Dumesnil, Histoire des plus cél?bres amateurs italiens . — Bolzenthal, op. cit. — E. Babelon, La Gravure en pierres fines, Paris, 1884. — J. Arneth, Die cinquecento Cameen. — Dr Eug. Merzbacher, Kunst-Medaillen-Katalog, München,. 1900. — Ad. Hess, Felix Sammlung Katalog. — Franks & Grueber, Medallic Illustrations, &c. — Catalogus der Nederlandsche en op Nederland betrekhing hebbende Gedenkpenningen, I, 's Gravenhage, 1903. — Blanchet, Nouveau Manuel, &c., II. — Domanig, Porträtmedaillen des Erzhauses Oesterreich. — Eug. Müntz, L' Atelier monétaire de Rome, 1884. — Cyril Davenport, Cameos, London, 1900. — C. Drury E. Fortnum, A descriptive Catalogue of the Bronzes of European origin in the South Kensington Museum, London, 1876. — P. Valton, Médaille de Danaé par Leone Leoni, Rev. num., 1905, p, 495-7. — Bode, op. cit.

Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904

Mint master: In medieval and early modern Germany, the Münzmeister ("mint master", the Latin term is monetarius) was the director or administrator of a mint, a moneyer with responsibility for the minting of coins, or specie. His duties were defined differently at different locations and ages.